Topics of MCC projects related to ecology. Methodical piggy bank

Project for high school "Development of creativity and critical thinking in the lessons of world artistic culture"

This project, developed for implementation in senior classes of secondary schools, is a study and application of interactive forms of work in the lessons of world artistic culture and during extracurricular hours in order to identify the creative abilities of students, involve them in active activities, awaken interest in the implementation of their creative, research , information and communication competencies.

Project format

Interactive forms of work.

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In one of the caskets in the front room, a large pendant in the shape of a scarab made of gold (a symbol of the “Solar God” and “being”), decorated with blue smalt imitation lapis lazuli (apparently, the upper part of the bracelet) was found. The reverse side of the pendant depicts a pharaoh in a magnificent ceremonial crown (atef), standing between the gods Atum and Horus, giving him a sign of life. There are short explanatory inscriptions above the figures and on the sides. At the top is a solar disk with hanging signs of life and two uraei, at the bottom is a symbol of the unity of Egypt. In one of the caskets in the front room, a large pendant in the shape of a scarab made of gold (a symbol of the “Solar God” and “being”), decorated with blue smalt imitation lapis lazuli (apparently, the upper part of the bracelet) was found. The reverse side of the pendant depicts a pharaoh in a magnificent ceremonial crown (atef), standing between the gods Atum and Horus, giving him a sign of life. There are short explanatory inscriptions above the figures and on the sides. At the top is a solar disk with hanging signs of life and two uraei, at the bottom is a symbol of the unity of Egypt.

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Among the best examples of furniture from Tutankhamun's tomb is an elegant chest of drawers made of red cedar on four thin legs. Among the best examples of furniture from Tutankhamun's tomb is an elegant chest of drawers made of red cedar on four thin legs. A sign attached to a broken chest of the same type indicated that it contained the king's fine clothes. The lid hinges back on bronze hinges. On the lid and front wall there are two buttons (rounded handles), covered with gold leaf. In the middle part of the chest of drawers, along all four walls, there is a frieze of alternating black “life” signs and gilded “strength” signs, mounted on “sky” (lord) signs.

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1. S. I. Fingaret “The Art of Ancient Egypt in the Hermitage Collection”, ed. 1. S. I. Fingaret “The Art of Ancient Egypt in the Hermitage Collection”, ed. 2. “The Art of the Ancient World”, 2nd ed. - Detyulit., 1989. -207 p. 3. ru.wikipedia.org

Goals and objectives of the work Goal of the work: to determine whether graphic art is truly a form of art or still refers to simple hooliganism? Objectives: Study the history of graphics. Identify the features of graphics as a direction of fine art. Find out people's attitude towards graphics.

History of the emergence of graphics Graffiti - used graffiti (in the context of historical inscriptions, singular graphito; from Italian graffito, plural graffiti) images, drawings or inscriptions scratched, written or drawn with paint or ink on walls and other surfaces. Italian. Graphics can include any type of street wall painting, on which you can find everything: from simple written words to exquisite drawings.

Graffiti in the ancient world Wall inscriptions have been known since ancient times, they were discovered in the countries of the Ancient East, in Greece, in Rome (Pompeii, Roman catacombs. The meaning of this word over time began to mean any graphics applied to the surface. Graffiti in ancient Pompeii: a caricature of official Graffiti in Ancient Rome were the social networks of the time.

Medieval graphites in Rus' The Eastern Slavs have a long and rich history of graphites. In Novgorod, 10 graphits of the 11th century have been preserved. A large number of 19th-century graphics are available in the Cathedral of St. Sofia in Kyiv, they contain both drawings and (usually) text. For the most part, ancient Russian graphs are writings on the walls of churches, so their most common content is prayer requests to God or saints, but there are also humorous texts and folk spells. Inscription-graphics in the St. Sophia Cathedral in Novgorod (XII-XIII centuries) Graffiti of St. Sophia of Kyiv.

Graffiti in the Renaissance by Michelangelo Buanarota. A great artist in every sense! When Renaissance artists such as Pinturicchio, Raphael, Michelangelo, descended into the ruins of Nero's Golden House, they carved or painted their names and upon returning from there began to use grotesque style in their works.

Features of graphics as a form of fine art. Graffiti is a form of street art that is one of the most current forms of artistic expression around the world. Many countries and cities have their own famous writers (people involved in graphic arts) who create real masterpieces on the streets of the city. Writers' Code: 1) do not paint houses of cultural value, and do not paint on residential buildings at all; 2) do not impose your worldview on people; 3) do not write in the names of other writers, especially on other people’s works; 4) do not write on tombstones: painting memorial walls is death!

“Trow-up” graphic styles are drawn very quickly, in 2-3 colors, sacrificing quality for speed. “Piece” (“piece”, “masterpiece”) is a more complex rendition of the rater’s name, which includes more stylized letters and more colors. “Blockbuster” or “roller” are huge pieces, usually made in a simple printing manner for the purpose of covering a large surface area using two contrasting colors. The “wildstyle” style is a more complex type of graphics. The name of the style comes from the wild, explosive, incomprehensible nature of the design, since often the letters are so intertwined and so many extraneous elements are introduced that readability practically disappears.

The influence of graphics on the life of society. Vandalism is “the senseless destruction of cultural and material values.” Reasons for creating graphics: - affirmation of personal and group identity; - protest against social and cultural norms; - angry reactions; - spools of creativity; - sexual reels; - entertaining reels.

Conclusion Graffiti is the freest of means of self-expression. Any artist strives not only for self-expression, but also for recognition and fame. Drawings on the walls are no longer equated with hooliganism. And of course, this cannot be called vandalism. Perhaps an abusive inscription on a wall can be called vandalism, but not every inscription on a wall is graffiti! Thank you for your attention!

Municipal budgetary educational institution "Bolsheignatovskaya Secondary School"

Research work

"An artist who paints good..."

(based on the work of A. Bargov)

Completed by a 10th grade student

Bochkareva Yulia

Head Kalyakova N.G.

Bolshoye Ignatovo 2015

Introduction 2 Nature in the works of Russian artists 4

Anatoly Bargov, childhood and youth 7

Main directions in painting 10

Erzya flavor in creativity 11

Social work

Conclusion 21

Literature 22

Introduction

Of course, fine art is an integral part of spiritual culture.

The art of artists and painters allows, through images, not only to talk about what they saw, but also to express their thoughts and feelings.

Everything lives and changes, is born, matures, grows old and dies. The paintings that capture the beauty of their native land are unique. Infinitely loving their little Motherland, artists at different times sought to embody its image in their work. For some of them, their homeland is a birch tree by the window, silvery frost, a winter forest plunged into quiet sleep, a pink sunset over the lake, cheerful daisies in a forest clearing, a fragrant lilac bush in the garden. For others, it is endless fields, meadows, rivers, nearby villages, fellow countrymen, the high sky with clouds floating across it.

Attachment to the father's land, keeping what is dearest, closest and dearest is evidence of the cultural value of the individual. This is patriotism. It gives a person an awareness of belonging to his native land and culture, the bearer and custodian of which he becomes. This needs to be taught from childhood. Acquaintance with the history of fine art of Mordovia, the work of the artist A.N. Bargova will help each person make a decision so as not to lose in his soul what strengthens and ennobles it.

Relevance We see our topic as an opportunity to systematize information about the fellow countryman artist in the analysis of his paintings from the point of view of the uniqueness of Erzya culture.

Purpose This work is an analysis of the reflection of Erzyan culture in the works of A.N. Bargov.

To achieve this goal, we set and decide the following:

tasks:

1. Select and study literature on this topic.

2. To study the features of fine art in the work of A.N. Bargov.

3. Determine the main direction of the artist’s fine arts.

Problem : It is not always possible for any resident of our area or guest to find information about the life and work of A.N. Bargov. It is necessary to spend a lot of time searching for the necessary literature in libraries, leafing through newspaper files in the reading room, in order to get acquainted with the artistic work of our fellow countryman.

Development of the problem under study: Thematic interview with the artist’s mother (biography of the interlocutor as part of a specific period of history); study and analysis of literature; comparison method; studying paintings from family archives; viewing information from newspaper sources of the museum archive.

Key informants:

The artist’s mother is Bargova Nina Ivanovna, archives of the Central Regional Library, editorial office of the regional newspaper “Voskhod”.

1 Nature in the works of Russian artists
Our people owe their moral qualities, talent and creative power, among other reasons, to our nature. The power of her aesthetic perception is so great that, without her, we would not have such a brilliant Pushkin as he was. But not only Pushkin, but also Lermontov, Chekhov, and finally, there would not have been a galaxy of wonderful landscape artists: Savrasov, Levitan, Nesterov, Polenov and many others.
It is clear that admiring nature is a consequence of love for it, and love for native nature is one of the surest signs of love for one’s country, love for one’s small homeland.
The paintings are good because at any moment you can enter the familiar, but always somehow new world of our nature - you just have to cross the threshold of the frame. It’s hard to believe that even at the beginning of the 19th century, some critics considered landscape unnecessary, and they said about landscape artists and writers that they “hide in the landscape from reality” and thereby reveal themselves as enemies of direct perception and reflection of reality.
In the high flowering of Russian painting of the 19th century, landscape played an outstanding role. Images of nature created by Russian artists have enriched Russian and world culture.

Russian landscape painting of the 19th century developed in accordance with the general trends of artistic development and the evolution of other painting genres and went through two stages of its development in the 19th century, the time boundary between which is considered to be the 1850s.

In the first quarter, the landscape was gradually liberated from the canons of classical painting. Nature began to be understood as a sphere of expression of purely personal feelings. Thus, the beginning of the romantic direction in Russian landscape painting was laid, within which it is also customary to distinguish 3 trends: painting of urban views, the Italian direction and the national Russian romantic landscape, which gave impetus to the development of realistic tendencies.

In the early 50s, a qualitatively new direction began to take shape - a realistic, national landscape. It should be noted that this movement was inextricably linked with the historical events of the second half of the 19th century; the peasant question worried everyone and did not leave landscape painters indifferent. Within this direction, nature has ceased to be used as an expression of one’s own feelings. Artists now sought to realistically reflect the reality around them, without exaggeration or distortion. It was in this direction that landscape painters such as Shishkin, Savrasov, Polenov, Kuindzhi and many other outstanding artists worked and created works of world artistic significance. In terms of the number of talented video painters, the 19th century is noticeably superior to others, and it is not without reason that it is usually called the “golden” age of Russian painting; it marks the heyday of Russian landscape.

It should be noted that the evolution and achievements of this painting genre did not remain aloof from the attention of the progressive public. The development of landscape painting and its achievements were constantly discussed in Russian society both by professional researchers and critics and by ordinary connoisseurs and lovers of this genre. And this is not accidental, since in the 19th century Russian landscape artists created outstanding works, without which Russian artistic culture would have been unthinkable, there would have been no experience on which subsequent generations of landscape painters relied and created no less magnificent creations.

The development of the rural landscape was started by Alexey Venetsianov (1780-1847), who is known to everyone as an unsurpassed master of the everyday genre. Life in the village gave the artist rich material and opened up a new world, the beauty and poetry of his native Russian nature. The landscape in Venetsianov’s paintings was no longer just a background, but played an active role in conveying the mood and solving the image.
Venetsianov himself combined views of fields and meadows in his paintings with images of peasant girls and children. These reapers and shepherdesses embodied in his paintings the poetic collective image of peasant Rus'. The landscape backgrounds of his paintings introduce the theme of nature into Russian painting as a sphere of application of the labor of human hands.

Already in the first half of the century, artists A.V. Tyranov and G.V. Soroka, who were direct students of Venetsianov, tried their hand at working on rural landscapes, in the artists’ native places. Their paintings, “not always perfect in skill, are distinguished by their extraordinary purity of perception of nature and sincerity of feeling.” Being the successors of the Venetian traditions, these landscape painters with their creativity represent a characteristic phenomenon in the realistic art of the 40s.
Isaac Levitan is the greatest of those Russian landscape painters who, in the 19th century, revealed to their contemporaries the modest beauty of Russian nature. Starting to work under the leadership of Savrasov and Polenov, Levitan soon left his teachers far behind, forever inscribing his name in the pantheon of Russian culture. For a long time it was believed that in Russia there was no nature capable of arousing admiration and becoming a theme for a serious work. Instead of nature there was only a gray, faceless mass, dreary and endless, like human grief.

Our fellow countryman, the artist Fedot Vasilievich Sychkov (1870-1958), a talented, original, artist and writer of the village, who stood at the origins of Mordovian professional fine art, also turned to the beauty of his native land. The artist’s cheerful, masterfully executed works, the heroes of which were his fellow countrymen, are a kind of chronicle of life in his native land.

His purpose in the art of F.V. Sychkov saw it as revealing the beauty and uniqueness of rural life, which he felt and understood more deeply than many other masters, since he came from this environment and never broke with it. “I dedicated my art to depicting the life of the Russian village,” the artist wrote.

1. Anatoly Bargov, childhood and youth

From the memoirs of the artist’s mother N.I. Bargova:

...The distant Ural city of Magnitogorsk. There, on July 22, 1955, little Tolya was born. But he spent his childhood and youth in the villages of Andreevka and Bolshoye Ignatovo, Bolsheignatovsky district of the Republic of Mordovia.

It was his love for art that brought him, after graduating from school, to the Ichalkovo Pedagogical School, which he graduated from in 1974. With warmth and love, he remembers good people from the pedagogical school - Evgenia Petrovna Kuznetsova, Mikhail Fedorovich Edelkin, Vasily Trofimovich Vildyakskin. After graduating from a pedagogical school, Anatoly Nikolaevich is engaged in teaching activities in schools No. 16 and No. 18 in the city of Saransk. In 1975-1977 he served in the Soviet Army.

In 1987 A.N. Bargov enters the Chuvash State Institute named after. I.Ya. Yakovleva to the Faculty of Art and Graphics, to the workshop of the People's Artist of Russia R.F. Fedorov. And again he meets kind people - Ravel Fedorovich Fedorov, Ananiy Aleksandrovich Flegentov - teachers of the institute. Since 1987, he has been a participant in republican, regional, all-Russian art exhibitions. A.N. Bargov is accepted as a member of the Union of Artists of Russia.

3 Main directions in painting

Anatoly Nikolaevich started as a landscape painter, created series"Seasons" , "Boldino Autumn"(1999), "Monasteries of Russia"(2000-2003).

Anatoly Bargov associates the most vivid impressions of his childhood with the legendary places of Boldin and its environs, because he spent it nearby, in the villages of Bolshoye Ignatovo and Andreevka, neighboring the Pushkin places. And he easily covered the ten kilometers separating them on a bicycle when he and his friends rushed to catch the Pushkin holiday.

In Bargov’s style, the idea of ​​the painting is slowly revealed.“The road to the estate of A.S. Pushkin”, a path snakes up the mountain, along which people have been walking to the poet’s estate for many years. And the main idea of ​​the triptych becomes clear - you need to go to Pushkin slowly, thinking, contemplating the beauty of the surrounding nature, remembering the lines of poems familiar from childhood... The artist leads us along the path, which, going up the mountain, in his next canvas"Pond.Bridge" descends into the famous park, crosses a bridge over a pond and leads to the very house of A.S. Pushkin.

4 Erzyan flavor in creativity

Currently, he is one of the few Russian artists of Mordovia who turns to everyday life painting. The master is actively developing a national theme, striving for an artistic and philosophical understanding of his native culture, asserting the need to revive, preserve and continue the folk traditions of the Mordovians. With optimistic images of multi-figure compositions with a clearly expressed choral, cathedral principle in them, he shows the true strength of the people in unity, in turning to the spiritual life of their ancestors, in respect for the ethnic archaism of the national costume, dance, song, custom and its modern existence (“Shumbrat, festival !”, 2007; “Sunday Afternoon”, 2009.)

The national theme is revealed by the artist under the sign of a festive perception of existence, characteristic of the national worldview. The works are distinguished by their bright decorativeness and carry a charge of energy, expressed by a temperamental manner of painting. For a series of works on a national theme, A.N. Bargov was awarded the honorary title of laureate of the Prize of the Head of the Republic of Mordovia. The work of the landscape painter A. Bargov captivates with its sincerity precisely because he writes only what he knows well, what he loves and considers his own. The main theme of his landscapes is his native land. And although the artist himself was born in the Urals, his whole life is connected with Mordovia, with the land of his ancestors, who lived on it for centuries, sowed grain, raised children, and when they died, went into it, so that later, exploding with life, they would return to this world again .

...In a huge green meadow on a summer afternoon, an old Mordovian song sounds beautifully. A round dance flows like an endless ribbon around the high mound. These Erzyans from all over Russia came to the sacred clearing for them between the Mordovian settlements of Selishchi and Chukaly. The centuries-old custom of the ancient people, forgotten during the Soviet hard times, of getting together and solving pressing problems with the whole world is returning to us again, the national identity of the small peoples of Russia is being revived, people want to know their culture, history, and customs. And an endless stream of people reached out to the sacred mound in order, as of old, to bring to it a handful of earth from all corners of the country, from beyond its borders, where the Erzyan descendants of those who prayed here for centuries, trusting their troubles to the merciful gods, asking them to intercession, thanks for your help.

And, as then, a candle burns on the top of an ancient hill, giving hope to everyone who believes, to everyone who is able to feel the deepest meaning of the action taking place, becoming a participant in it. This custom is beautiful and poetic, and how can an artist resist the desire to tell the whole world about it?

The artist in his triptych"Erzyan Ozks" (Erzyan Holiday) managed not only to subtly sense the truly folk character of the holiday, but also to find the most convincing artistic means for its expression.

The artist paints the May greenery of the grove bright and juicy,"Spring" , and the forest in late autumn has ghostly silvery colors. The painter does not like harsh lighting and bright colors, rightly believing that they bring confusion to the structure of nature.

Winter freshness, on the contrary, is invigorating, and his winter landscapes are dominated by a clear pattern of branches, graphic clarity of the outlines of objects on a frosty day, and often a feeling of thaw, emphasized by a warm color. It is in the images of winter nature that A. Bargov especially manages to convey the national flavor. For example, in"Winter on Sura" the mood is determined by the melancholy motif of the road, so familiar and beloved in Russian classics, intensified by the small figure of a traveler riding on a sleigh, and the horizontal format of the canvas sets off the leisurely narrative nature of the story.

The themes of the landscapes of “pure” nature created by Anatoly Bargov are diverse; he does not give preference to any one time of year.

Yes, revealing a unique charm in each one. The painter senses with amazing subtlety the internal connection between the state of nature and man. It’s uncomfortable and sad in late autumn, but spring is a powerful surge of strength and energy. The artist associates summer with the sun-warmed trunks of pine trees on the sandy shore, emitting a fragrant aroma, mixing with the smell of the river; summer is the brightly blooming front gardens of village houses, the rich flashes of sunsets...

A river or lake is invariably present in almost all of the artist’s paintings. Water “attracts” his attention, its mirror-like surface creates an additional pictorial effect - the shore and sky are reflected in it, but, living on the canvas according to its own laws, it, nevertheless, is always organically included by the author in the surrounding landscape.

The painter's favorite rivers: Sura, Alatyr, Sivin. They flow through the Mordovian land, giving it a peculiar charm. We see these rivers in such paintings as"Awakening. Xiwin"(1998), "Spring. Ice drift on the Alatyr River"(1997), “Summer Sura” (1998).Restless Sura disturbs the world around her, drawing it into her whirlpool. “Stormy, strong”, it is precisely this that corresponds to the artist’s temperament - active, active.

Sivini has a completely different character - calm and shallow, she attracts with her discreet beauty and serene silence. And the painter draws attention first to an old dry tree on the shore, then to a lush flowering bush, then to a cliff overgrown with thick grass. For him, Si-vin, lost among fields and meadows, is “a spicy and fragrant river,” like a young girl.

In different years of his creative life, A.N. Bargov also painted still-

morts. They are distinguished by the artist’s sense of admiration for the beauty of the world in bouquets of elegant flowers -(“Flowers” ​​2009) , fragrant bunches of lilacs(“Lilac” 1993), lush peonies (“Peonies” 2000) . These paintings reveal a special festive feeling of life. Often the “main characters” of his still lifes are beautifully painted objects and details of the Mordovian national costume and folk life.(“Still life with a candle”

1987 ) .

He sees beauty and expresses with his line what he wants - his hand is under his control. The hand is strong and beautiful. And when he holds a brush, and when he holds the steering wheel of a car, and when he lifts a child.

In his studio, as a relic, there is a portrait of his grandmother, the late Anastasia Fedorovna Mamaeva, who long ago posed for two students of the pedagogical school: her grandson and his friend Vita Vechkanov, who became a famous artist, but died early. Bargov does not paint other portraits. He is restrained by natural caution and tact. After all, in a portrait, a real painter reflects not only external features, but also the character, the inner state of a person, which not everyone dares to admit...

In recent years, architecture has begun to actively enter A. Bargov’s landscapes. In search of a variety of subjects, he gradually moves away from the image of “pure” nature and strives to give it the effect of the presence of a person who created “man-made” beauty. At the same time, the painter is only interested in what does not compete with nature, organically combines with its beauty, emphasizes its advantages and, in turn, forms a single whole with it. Such qualities, according to A.N. Bargov, are possessed only by the architecture of ancient cathedrals and churches, which is brilliant in its simplicity and grace. And he, carried away by the new topic, creates a number of interesting landscapes

zhey, dedicated to local monasteries: Narovchatsky, Sanaksarsky and Makarovsky.

In the picture "Norovchatsky Convent"The green color is especially active, perfectly conveying the cool freshness of a May morning, this feeling is enhanced by the contrast with the large dark spot of a plowed field in the foreground, patiently waiting for its worker, and the beautiful and chiseled silhouette of the cathedral and bell tower in the distance.

The artist creates a major mood of awakening nature and in"Sa-Naxar Monastery", seen by him in early spring during the Moksha flood.

On canvas "Makarovsky Pogost"a bright spot of early greenery combines effectively with the nobility of ocher, emphasizing the high spirits that you involuntarily experience when contemplating the picture of awakening nature. In the background, the artist depicted many roads - from all sides they lead travelers to the temple standing on a hillock. And what unites all these architectural landscapes is the strip of pond in the foreground so beloved by the painter. It seems to separate the viewer from the fabulous images appearing on the far shore, beckoning and at the same time blocking the path to them - so beautiful and inaccessibly ghostly, like the epic image of the city of Kitezh. How easily and gracefully the painter’s brush inscribes the lines of cathedrals into the sky, how mysteriously they are reflected in the mirror of the river!

The artist Anatoly Bargov managed to create in his canvases a poetic image of the landscape of his native Mordovian land, inextricably linked with the history and culture of great Russia. But no matter how wide and varied the thematic range of the landscape painter’s work, his main idea is that for him nature is the temple in which the painter says his prayer every day.

5 Community service

A lot of strength and energy A.N. Bargov devotes himself to social work. Since 2002, he has been chairman of the board of the Union of Artists of the Republic of Mordovia. Under his leadership, the Union is actively engaged in exhibition activities at the level of the republic, region and Russia, organizes large art forums in Mordovia (Regional art exhibition “Big Volga. Art of the Volga Republics”, Saransk, 2004, International art exhibition “Yalgat”, as part of the Finnish festival -Ugric cultures “Shumbrat, Finno-Ugria!”, Saransk, 2007), works closely with the Unions of Artists of neighboring republics and regions, supports the emergence of new artistic groups (the Artoma group and the youth creative association “Siyazh-Art”), promotes the development a new direction of professional artistic activity - design, revives the practice of summer plein airs. Since 2004 A.N. Bargov works at Moscow State University named after N.P. Ogareva, as a professor at the Department of Traditional Mordovian Folk Culture and Contemporary Art of Mordovia at the Institute of National Culture, teaches painting to students of the specialty “Decorative and Applied Arts,” instilling in them the best traditions of Russian realistic art.

2012 was a significant year for the artist; Anatoly Nikolaevich fulfilled his long-time dream - an exhibition of his works was held in the regions of Mordovia, including in his native Bolsheignatovsky district. I was also lucky enough to be present at the opening. It was very interesting to see the artist “Live”, to listen to his memories of childhood, stories of people who knew the famous artist as a child.

Conclusion

...The word “painting” has two roots - “living” and “writing”. The great wisdom of the Russian language was manifested in this case as well. A painting painted by a true master is truly like a window into living life, a moment left by the artist’s hand.

The more talented the master, the brighter the painting or drawing he creates. It’s as if we are looking at the world through his eyes. Looking at the paintings of Anatoly Bargov, your soul calms down and a bright joy visits you, which is what everyone misses in the turmoil of days.

Who knows, maybe someday Anatoly Bargov will turn to another genre. In the meantime, he writes his native nature, whose splendor - in the snow, and in the lush greenery, and in the sparkle of water, and in the gold of autumn - is everlasting.

We, Ignatians, are proud of our fellow countryman - the Honored Artist of the Republic of Mordovia, painter, teacher and simply a wonderful person.

Literature

1 Bolshoye Ignatovo. The history of the Ignatovsky land, captured in archaeological finds, historical documents, memoirs, reasoning of its natives: Essays / T. Bargova, Saransk: Mordov. book publishing house, 2000, -224 p.: page 108.

Makeeva Yulia

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Preview:

Municipal educational institution

Secondary school with. Linguistics

Research project on MHC

"Temples of Russia"

Performed:

8th grade student

Makeeva Yulia

Supervisor:
Anufrieva T.V.

February 2013

INTRODUCTION

Our ancestors could not imagine life without faith, without a temple, which for them was literally the gateway to the heavenly world. The temple accompanied every Orthodox person throughout his life: birth, baptism, and intoxication were registered here.

The construction of any city, village or factory was accompanied by the construction of a church. In 989, the year after the Baptism of Rus', the first stone church was founded in Kyiv by Greek architects who came from Constantinople. Since the Baptism of Rus', church building on our land has acquired paramount importance. On the site of the future settlement or city, a church is first created. All or almost all residents of a village or city come to church for services on Sundays and on great church holidays. In the church, as a rule, the baptism of newborns takes place, the wedding of newlyweds takes place here, and the funeral service for deceased Orthodox Christians is performed in the church. The church also hosts farewells to the defenders of the Fatherland during the war and thanksgiving services after the victory. Our ancestors gathered for public meetings near the temple, and a trading area was set up not far from the temple. Thus, for many centuries of Russian history, the Orthodox church has been both a place of general public meetings and a place of sanctification of all aspects of human life.

Since the temple in Rus' occupied an extremely important place in the life of an Orthodox person, all the best was given to the creation and decoration of churches: the best forces, the best talents and the greatest funds were donated. The temple was usually built on an elevated, “red” place (i.e. the best, most beautiful) and served as the basis for the entire urban planning plan. If residents of a city or village had to change their place of residence, then their first concern was the construction of a temple, and preferably one like the one they had at their previous place of residence.

Temples in Rus' were dedicated to Christ the Savior, the Mother of God or saints. Russian cities, villages, streets, and roads were often named after the temple.

Throughout Christian times, monumental churches were erected in Rus'. They were built on the site of great battles and military victories for the sake of constant church commemoration of those who laid down their lives on the battlefield for their hometown, people and their Fatherland.

The temple literally brought together citizens and, thanks to a single church calendar, streamlined all church and social life. In churches, royal decrees were announced, metropolitans were elected, and kings were anointed to the throne. Church councils were held in churches, the decisions of which largely determined the development of national history and culture. Finally, the temple in Rus' was also the first school for many centuries. There were always books here, since church services cannot be performed without books. There were always literate people at the temple who taught literacy and various church arts to adults and children. Scriptoriums (workshops for copying books), archives and libraries were established at churches and monasteries, schools were founded, and, from the 19th century, parochial schools.

The temple has always been not only a place of service, but also a hospital where spiritual and physical ailments were cured, and a school that taught our great-great-grandfathers not only to read and write, but also to pray, believe, and love God and neighbor.

A temple is a special place, specially intended:

1) for every person to meet God;

2) for congregational prayers;

3) for performing religious services;

4) for performing the Sacraments of the Orthodox Church (Baptism, Repentance, Communion, Confirmation, Blessing of Anointing, Priesthood and Marriage, or Wedding).

The best Russian churches have become the glory of Russia. The Kiev and Novgorod St. Sophia Cathedrals, the Assumption Cathedral in Vladimir, the Assumption Cathedral of the Moscow Kremlin, the Trinity Cathedral of the Trinity-Sergius Lavra, St. Isaac's Cathedral in St. Petersburg, the Vladimir Cathedral in Kiev and many other churches in Russia are recognized as monuments of world culture. Temples in Rus' have always been a treasury of shrines for the people. Ancient Rus' did not know museums: everything truly valuable and beautiful was kept in churches or monasteries - revered icons, remains of saints (relics), ancient manuscripts, sometimes ancient documents and various relics. Thus, the temple in Rus' is the main custodian of Orthodox culture.

PURPOSE work is as follows:

Study the features of the architecture of Orthodox churches;

Familiarize yourself with the external and internal structure of the temple;

Find out about the most famous churches in Russia and the Saratov region;

Carry out creative work to create the image of an Orthodox church.

RELEVANCE OF RESEARCH WORK on the study of Orthodox churches.The study of the history of Russia and the culture of our country is inextricably linked with the study of Orthodox shrines, temples and icons. Each of the Orthodox churches has its own destiny, its own unique character. Temples decorate and ennoble our lives, delight the eye, and pacify the soul with both their external beauty and the harmonious ringing of bells. In my practical work, I tried to convey the beauty of an Orthodox church on the basis of arts and crafts.

1. Orthodox churches in Russia

Not everyone knows how an Orthodox church works. But every detail of the temple has a deep meaning and significance. From afar we see the crosses shining on the domes of the temple. Domes with crosses seem to connect heavenly and earthly space into an integral consecrated world. A dome is like the flame of a burning candle; it is not without reason that since ancient times our ancestors tried to gild the crosses and domes of churches even in the most difficult times.

1.1.Features of temple architecture.

Together with Orthodoxy, Rus' adopted examples of church architecture from Byzantium. Such famous Russian churches as:Kyiv St. Sophia Cathedral, Sophia of Novgorod, the Vladimir Assumption Cathedral were deliberately built in the likeness of the St. Sophia Cathedral of Constantinople. While preserving the general and basic architectural features of Byzantine churches, Russian churches have much that is original and unique. Several distinctive architectural styles have developed in Orthodox Russia. Among them, the style that stands out most is the one closest to Byzantine. This is a classic type of white-stone rectangular church, or even basically square, but with the addition of an altar with semicircular apses, with one or more domes on a figured roof. The spherical Byzantine shape of the dome covering was replaced by a helmet-shaped one. In the middle part of small churches there are four pillars that support the roof and symbolize the four evangelists, the four cardinal directions. In the central part of the cathedral church there may be twelve or more pillars. At the same time, the pillars with the intersecting space between them form the signs of the Cross and help divide the temple into its symbolic parts. Prince Vladimir and his successor, Prince Yaroslav the Wise, sought to organically incorporate Rus' into the body of Christianity.

In the 15th-17th centuries, a significantly different style of temple construction developed in Russia from the Byzantine one. Elongated rectangular, but certainly with semicircular apses to the east, one-story and two-story churches with winter and summer churches appear, sometimes white stone, more often brick with covered porches and covered arched galleries - walkways around all walls, with gable, hipped and figured roofs, on which they flaunt one or several highly raised domes in the form of domes, or bulbs. The walls of the temple are decorated with elegant decoration and windows with beautiful stone carvings or tiled frames. Next to the temple or together with the temple, a high tented bell tower with a cross at the top is erected above its porch.

Has acquired a special styleRussian wooden architecture. The properties of wood as a building material determined the features of this style. It is difficult to create a smoothly shaped dome from rectangular boards and beams. Therefore, in wooden temples it is pointed instead. tent . Moreover, the appearance of a tent began to be given to the church as a whole. This is how wooden temples appeared to the world in the form of a huge pointed wooden cone. Sometimes the roof of the temple was arranged in the form of many cone-shaped wooden domes with crosses rising upward (for example, the famous temple at the Kizhi churchyard).

Tent stone templesappeared in Rus' at the turn of the 15th – 16th centuries. The emergence of tented temples is connected, on the one hand, with the tradition of building monument temples dedicated to some important event. On the other hand, Russian stone architecture came to this type of temples, firstly, from wood, and secondly, from the forms of the vaults of stone temples, which gradually, with the development of construction, stretched upward more and more. The Ascension Church in Kolomenskoye, built in 1532, is considered the first stone hipped church. Vasily III. According to other sources, the first stone church with a hipped roof was the Church of the Ascension in Vologda Posad, built in 1493.

The tented form of churches turned out to be the most suitable for the construction of monument temples - they had to be high, visible from afar, but the small area of ​​the temple did not play a role, since they were not created for a huge crowd of people. In the 16th-17th centuries, many tented temple-monuments were built in Rus'. A tent-like finish was also given to the central part of the most famous of them - the Cathedral of the Intercession on the Moat (St. Basil's Cathedral) on Red Square in Moscow, built in 1552. in honor of the capture of Kazan.

The basis of all tented temples was approximately the same: a quadrangle on which a small octagon was placed, serving as a support for a high octagonal tent. At the same time, the architects showed such ingenuity in decorating and varying various details that not a single tented temple was similar to the others. The peculiarity of this style was that the temple did not have pillars and was supported only on the walls, which made it impossible to erect tents that were too wide. This caused the collapse of a too large and wide stone tentResurrection Cathedral V New Jerusalem Monastery ; After the collapse, the tent was replaced with a lighter wooden one, lined with iron.

Tents in Russian architecture did not last long: in the middle of the 17th century. Church authorities prohibited the construction of tented churches, since they were sharply different from the traditional one-domed and five-domed rectangular (ship) churches. Russian churches are so diverse in their general appearance, details of decoration and decoration that one can endlessly marvel at the invention and art of Russian masters, the wealth of artistic means of Russian church architecture, and its original character. All these churches traditionally maintain a three-part (or two-part) symbolic internal division, and in the arrangement of the internal space and external design they follow the deep spiritual truths of Orthodoxy. For example, the number of domes is symbolic: one dome symbolizes the unity of God, the perfection of creation; two domes correspond to the two natures of the God-man Jesus Christ, two areas of creation; three domes commemorate the Holy Trinity; four domes - Four Gospels, four cardinal directions; five domes (the most common number), where the middle one rises above the other four, signify the Lord Jesus Christ and the four evangelists; the seven domes symbolize the seven sacraments of the Church, the seven Ecumenical Councils.

At the end of the 19th century, there was a tendency to weaken the strict ban on the construction of hipped churches, the pseudo-Russian style gained popularity, therefore, at the turn of the 19th-20th centuries, churches with a hipped roof began to appear again, although noticeably different from their predecessors in the 16th-17th centuries

Neo-Gothic (pseudogothic, false gothic) is an architectural movement that arose in the 18th century in Great Britain and spread in Europe and Russia. From the name it is clear that this style is associated with the use of details of Gothic architecture; The appeal of architects to medieval European architecture was caused by the general trend towards the revival of ancient traditions not only in architecture, but also in landscape design, etc. The general name of this trend is the well-known romanticism. Some churches in Russia began to be built in the romantic-Gothic style. There are very few of them, and not all of them can be immediately and accurately identified with neo-Gothic features, but nevertheless, churches of this style exist and are very interesting not only for their appearance, but also for their history. As a rule, these are not simple parish churches, but manor churches of famous people. There are practically no neo-Gothic churches in Moscow, but there are many of them in the Moscow region; they exist in other regions, and in St. Petersburg, which is open to new trends. There is no real Gothic in Russia - for objective historical reasons, therefore neo-Gothic in Russia is often called simply Gothic for brevity.

Temples "under the ringing" , or “like the bells,” are pillar-shaped temples in which the ringing tier is placed on the main volume, under the head. Remarkable examples of ancient Russian architecture of this type appeared in Rus' in the 14th century - presumably the first of them was the Church of St. John the Climacus in the Moscow Kremlin, built under Ivan Kalita in 1329 and which has not survived to this day. It is known that it was a pillar-shaped building nine meters in diameter, in the shape of an irregular octahedron in plan. A remarkable example of a somewhat later time is the Holy Spiritual Church in the Trinity-Sergius Lavra.

A number of excellent churches “under the bell” gave Russian architecture the Moscow (Naryshkin) Baroque. This applies to those temples whose authorship belongs (or is attributed) to the architectYakov Bukhvostov : Intercession in Fili, Boris and Gleb in Zyuzino, Trinity in Trinity-Lykovo, Savior in Ubory, Sign in the Sheremetev yard. Slender, tall baroque churches become even taller thanks to an additional tier of bells - pyramidal structures that look like candles look great from afar. In Moscow, among the Baroque churches “under the ringing bells”, besides Naryshkin’s, there is the contemporary famous Menshikov Tower (Church of the Archangel Gabriel), decorated in the Western Baroque style and close in architecture not only to religious, but also to secular buildings.

At the end of the 18th - 19th centuries, during the era of classicism, architects also turned to the type of temple “under the bell”. Their works no longer resembled openwork baroque churches; they are compositionally closer to ancient examples: a belfry on a massive quadrangle. These are the churches in Naro-Fominsk, in Ershovo (restored), in Vozdvizhenskoye.

Among the newly built churches there are also churches “like the bells”; they represent a mixture of different styles or stylizations of ancient Russian churches.

1.2. External and internal structure of the temple.

The temple is erected on the highest place and its altar part faces the east, symbolizing Paradise. The temple building usually ends at the top dome , representing the sky. The dome ends at the top head , on which a cross is placed, for the glory of the head of the Church - Jesus Christ. Often, not one, but several chapters are built on a temple, then: two chapters mean two natures (Divine and human) in Jesus Christ; three chapters - three Persons of the Holy Trinity; five chapters - Jesus Christ and the four evangelists, seven chapters - seven sacraments and seven ecumenical councils, nine chapters - nine ranks of angels, thirteen chapters - Jesus Christ and the twelve apostles, and sometimes they build more chapters.

The shape of the dome also has a symbolic meaning. The helmet-like shape was reminiscent of the army, of the spiritual battle waged by the Church with the forces of evil and darkness. The shape of the onion is a symbol of the candle flame. The intricate shape and bright colors of the domes on St. Basil's Cathedral speak of the beauty of Heavenly Jerusalem.

The color of the dome is also important in the symbolism of the temple. Gold is a symbol of heavenly glory. The main temples and the temples dedicated to Christ and the twelve feasts had golden domes. Blue domes with stars crown churches dedicated to the Mother of God, because the star recalls the birth of Christ from the Virgin Mary. Trinity churches had green domes, because green is the color of the Holy Spirit. Temples dedicated to saints are also crowned with green or silver domes. \ see Appendix 1\

Above the entrance to the temple, and sometimes next to the temple, it is built bell tower or belfry , that is, the tower on which the bells hang.Bell ringing used to call believers toprayer , To worship , as well as in order to announce the most important parts of the service performed in the temple. The ringing of one bell is called"blagovest" (good, joyful news about the Divine service). Ringing all the bells, expressing Christian joy, on the occasion of a solemn holiday, etc., is called"ringing" . The ringing of bells about a sad event is called"chime".

The Orthodox Christian church is divided into three parts:. If several altars are installed in a temple, each of them is consecrated in memory of a special event or saint. Then all the altars, except the main one, are called side-altars or aisles.

Orthodox churches are built with the altar facing east - towards the light, where the sun rises: This corresponds to the sanctuary, in our Orthodox churchmiddle part of the temple.

At the entrance to the temple there is a place outside porch - platform, porch.

The main part of the temple is altar , the place is holy, so the uninitiated are not allowed to enter it. The altar means the sky where God dwells, and the temple means the earth. The most important place in the altar is throne - especially

a consecrated quadrangular table, decorated with two materials: the lower one - white linen and the upper one - brocade. \cm. Appendix 2\

The altar is separated from the middle part of the temple by a special partition, which is seticons and is called an iconostasis.

The iconostasis contains three doors , or three gates. The middle gate, the largest, is located in the very middle of the iconostasis and is calledRoyal Gates.No one is allowed to pass through the royal doors except the clergy. At the royal doors, on the side of the altar, hangs a curtain, which, depending on the course of the service, opens or closes. The Royal Doors are decorated with icons depicting them: the Annunciation of the Blessed Virgin Mary and the four evangelists, that is, the apostles who wrote the Gospel: Matthew, Mark, Luke and John. The icon of the Last Supper is placed above the royal doors.

An icon is always placed to the right of the royal doors Savior , and to the left of the royal gates is an icon Mother of God.

To the right of the icon of the Savior is south door , and to the left of the icon of the Mother of God is north door . These side doors depictArchangels Michael and Gabriel, or the first deacons Stephen and Philip, or the high priest Aaron and the prophet Moses. Side doors are also calleddeacon's gate, since deacons most often pass through them.

Further, behind the side doors of the iconostasis, icons of especially revered saints are placed. The first icon to the right of the icon of the Savior (not counting the southern door) should always be temple icon , that is, an image of that holiday or that saint in whose honor the temple was consecrated.

At the very top of the iconostasis there is cross with the image of our crucified Lord Jesus Christ on it.

If iconostases are arranged in several tiers, i.e. rows, then icons are usually placed in the second tiertwelve holidays, in the third - icons of the apostles , in the fourth - icons prophets , at the very top there is always a cross.

In addition to the iconostasis, icons are placed along the walls of the temple, in large icon cases , i.e. in special large frames, and are also located on lecterns , that is, on special high narrow tables with an inclined surface.

1.3. The most famous churches in Russia

Cathedral of Christ the Saviorwas built in gratitude for the intercession of the Almighty during a critical period in Russian history as a monument to the courage of the Russian people in the fight against the Napoleonic invasion of 1812.

December 25, 1812, when the last soldier of Napoleon's 600,000-strong army was expelled from Russia,Emperor Alexander I , in honor of the victory of the Russian army and in gratitude to God, signedThe Supreme Manifesto about building a church in Moscow in the name of the Savior Christ. The idea of ​​building a memorial temple received the most ardent support in all layers of Russian society. The idea of ​​​​building a memorial temple resurrected the ancient tradition of temples erected as a sign of gratitude to God for the victory granted and in eternal remembrance of the dead.

The Cathedral of Christ the Savior took almost 44 years to build. The best architects, builders and artists of that time worked on the creation of the Temple. On all the walls of the Temple were placed figures of patron saints and prayer books for the Russian land, those domestic figures who worked to establish and spread the Orthodox faith, as well as Russian princes who laid down their lives for the freedom and integrity of Russia. The temple was a living chronicle of the struggle of the Russian people against the conqueror Napoleon, and the names of the valiant heroes, through whom God showed salvation to the Russian people, were inscribed onmarble boards located in the lower gallery of the Temple.

The Cathedral of Christ the Savior was created by all of Russia and became the visible embodiment of its Glory, its Faith and Greatness, and a witness to many historical events.

At the beginning of 1918, due to the persecution of the Church and the publication of the Decree of the Soviet government “On the separation of church from state and school from church,” the Temple was completely deprived of assistance from the authorities.On December 5, 1931, the Temple-Monument of Military Glory, the Main Temple of Russia, was barbarically destroyed.

For many years after the explosion, a monstrous hole yawned on the site of the majestic Temple, where the Moscow swimming pool appeared in 1958, as a monument to the desecration and oblivion of national glory and history.

At the end of the 1980s, a social movement of Muscovites and all Russians arose forreconstruction of the Cathedral of Christ the Savior . And in our time, the Great Temple has risen from oblivion - the Main Temple of the Russian Orthodox Church, the Temple-monument, the Temple-martyr - the Cathedral of Christ the Savior.

St. Basil's Cathedral- one of the most striking and famous monuments of ancient Russian architecture. Already in the 16th century, the cathedral delighted travelers and guests of Moscow, and for Russians it became a symbol of Russian history and national character.

In 1552, in honor of the victory of the troops of Ivan the Terrible in the war for the conquest of the Kazan and Astrakhan Khanates, a temple was founded, consecrated in honor of the Holy Trinity. In 1554, Ivan the Terrible ordered the construction of the Cathedral of the Intercession of the Virgin Mary with chapels glorifying the victory over the Tatars in its place. The temple was popularly called the Intercession on the Moat: the cathedral was built next to a deep moat that ran along the eastern wall of the Kremlin. Later, the holy fool St. Basil the Blessed was buried in one of the premises of the temple, thanks to whom the cathedral acquired its new name.

The chronicle names the Russian architects Postnik and Barma as the authors of St. Basil's Cathedral. There is a legend according to which Ivan the Terrible, having seen the cathedral built according to their design, was so delighted with its beauty that he ordered the architects to be blinded so that they could not build a temple anywhere else equal in beauty to the Intercession Cathedral. Some modern historians offer a version according to which the architect of the temple was one person - Ivan Yakovlevich Barma, who was nicknamed the Faster because he kept a strict fast. As for the legend about the blinding of Barma and Postnik, its partial refutation can be served by the fact that the name of Postnik later appears in the chronicle in connection with the creation of other significant architectural structures.

St. Basil's Cathedral is a symmetrical ensemble of eight pillar-shaped churches surrounding the ninth - the tallest - temple, topped with a tent. Each of the eight churches is named after a saint, on whose day one or another important event of the Kazan campaigns of Ivan the Terrible took place; The central church is dedicated to the feast of the Intercession of Our Lady - it was on this day that Kazan was taken by storm. The limits are connected to each other by a system of transitions. The pillar-shaped churches are topped with onion domes, none of which is identical in architectural decoration to the others. Each dome is decorated with cornices, kokoshniks, windows, and niches. In general, the cathedral creates a feeling of festivity and elegance. Until the end of the 17th century, until the bell tower of Ivan the Great was built on the territory of the Kremlin, St. Basil's Cathedral was the tallest building in Moscow. The height of the cathedral is 60 meters.

In total, St. Basil's Cathedral has 9 iconostases, which contain about 400 icons from the 16th to 19th centuries, representing the best examples of the Novgorod and Moscow icon painting schools. The walls of the cathedral are decorated with oil paintings and frescoes of the 16th-19th centuries. In addition to icons, the cathedral displays portrait and landscape paintings of the 19th century, and church utensils from the 16th to 19th centuries. Among the particularly valuable exhibits is a 17th century chalice that belonged to Tsar Alexei Mikhailovich.

In the mid-20s of the 20th century, St. Basil's Cathedral received the status of a museum. Since 1934, it has been listed as a branch of the State Historical Museum.

Assumption Cathedral For a long time it was considered the main temple of the Kremlin and was the religious and cultural center of the Russian state. The history of the Assumption Cathedral begins in the 12th century, when a wooden church stood on the site of the current stone cathedral. About a century later, by order of Moscow Prince Daniil Alexandrovich, the first Assumption Cathedral was erected on the site of the wooden church. Already in the 14th century, Ivan Kalita decided to rebuild the stone temple and make it more majestic and luxurious. In the 15th century, the opportunity arose to bring the idea of ​​Ivan III to life. Thus, in the 1470s, the reconstruction of the Assumption Cathedral began, for which Russian architects Krivtsov and Myshkin were invited to Moscow. In 1473-1474, the walls of the cathedral and its vaults were erected, but the cathedral suddenly collapsed when they began laying the top. The reason for this was poor mortar and the irrational design of the staircase leading to the choir. To resume construction, craftsmen from Pskov were invited to Moscow by decree of Ivan III, but when they saw the ruins of the temple, they flatly refused to complete the construction of the cathedral. To complete the reconstruction of the ensemble of the Moscow Kremlin, Ivan Kalita invited architects from Italy to Moscow, and in March 1475 Aristotle Feoravanti arrived in Moscow with his son Andrea and his young assistant Pietro. A. Fioravanti reflected in the new cathedral all the best achievements of ancient Russian architecture, using elements of the Novgorod, Vladimir-Suzdal and Italian architectural schools. He also proposed many new technical ideas, which then became firmly established in the practice of Russian construction: thick mortar, a combination of white stone and a new brick format, iron connections, the thickness of the vaults became much smaller - one brick.

Due to the fact that the Assumption Cathedral was built as the main temple of the Russian land, special attention was paid to its interior decoration, on which the best craftsmen of that time worked. Its interior was evenly lit and resembled a huge ceremonial hall. Unique wall paintings, numerous icons and various church utensils are considered priceless works of world art.

Speaking about the internal appearance of the Assumption Cathedral, it is worth noting that the architecture and murals of the temple create an image of the cosmos. The vaults of the cathedral symbolize the sky supported by the pillars of the cathedral. It is believed that the images of the holy martyrs on the pillars symbolize the fact that they also support the Orthodox Church, just as the pillars support the entire temple.

During the Patriotic War of 1812, the building of the Assumption Cathedral was badly damaged, as the French who captured Moscow used it as a stable, and before fleeing, they took more than five thousand tons of silver and about three hundred kilograms of gold from the cathedral. After the war, the silver was returned and the central chandelier of the Assumption Cathedral was cast from it. In March 1918, the first Soviet government moved to Moscow and was located in the Kremlin, and therefore the Kremlin was no longer accessible to the public. The Kremlin was reopened in 1955, and in the 1970s-1980s, unique-scale repair and restoration work was carried out here, which also affected the Assumption Cathedral.

Bookmark Kazan Cathedraltook place on August 27, 1801. Before this, on a site near Nevsky Prospekt there was a small stone Church of the Nativity of the Virgin.

The construction of the cathedral took ten years - a rather short period of time for such a significant structure. It is interesting that the cathedral was built from materials exclusively of domestic production and through the efforts of mainly Russian craftsmen. Thousands of workers, mostly serfs, were involved. Construction work was carried out around the clock in extremely difficult conditions.

According to church canons, the altar of the temple should be oriented to the east, respectively, the main entrance and facade should be oriented to the west. Following these canons, it turned out that the cathedral would face the main thoroughfare of St. Petersburg, Nevsky Prospect, not with its facade, but with its side. Voronikhin brilliantly coped with this problem by decorating the northern façade of the cathedral with a colonnade facing Nevsky Prospekt. According to the architect's plan, another similar colonnade was supposed to decorate the opposite, southern facade of the temple, but Voronikhin's plans were not brought to life.

In 1811, a majestic temple, the largest at that time in St. Petersburg, appeared before the townspeople. The height of the cathedral reached 71.5 meters. Inside and outside the cathedral was decorated with unique columns carved from huge granite monoliths, weighing up to 30 tons each.

The Patriotic War of 1812 played a decisive role in the fate of the cathedral. The temple, originally built for the miraculous icon of the Kazan Mother of God, turned into a repository of sacred relics of the victorious war and became a kind of museum of military glory. In 1813, it was decided to bury Field Marshal Mikhail Illarionovich Kutuzov in the Kazan Cathedral. Thanks to this event, the memorial significance of the cathedral increased even more.

In 1837, on the 25th anniversary of the victory over Napoleon, monuments to field marshals M.I. Kutuzov and M.B. Barclay de Tolly were erected in front of the cathedral. Made according to the models of the sculptor Orlovsky, they so organically entered the architectural ensemble of the Kazan Cathedral that many St. Petersburg residents are still convinced that they were originally included in Voronikhin’s project.

After the 1917 revolution, the cathedral was taken away from the Orthodox Church. In 1932, the Museum of the History of Religion and Atheism was opened there.

The date November 4, 1990 went down in the history of the cathedral as the day of its revival. Then, on the feast of the Kazan Icon of the Mother of God, for the first time after a more than seventy-year break, the Divine Liturgy was served in the cathedral building.

1. Orthodox churches in the Saratov region.

Quick Hearing Church. Saratov:Built in 2001.
From the history of the temple: The temple is small, single-altar, built as a temporary one before the construction of a church in the name of St. Vmch. George. Now on the site of the future church there is a worship cross.

In honor of the Nativity of Christ Church. Saratov

Built: in 1906-1907 at the expense of the Saratov merchant Chukalin (according to other sources, built earlier, in 1896).
During the years of Soviet power: The building was preserved in a modified form. The building housed the regional dermatovenerological clinic. Nowadays: The restoration of the temple began and it was re-consecrated. Restoration continues to this day, but services do not stop.

Martyr Agrippina Edinoverie Church. Saratov

It was located in the Old Believer cemetery behind the station.
Built In 1841, at the expense of the honorary citizen of the city of Saratov, Nikanor Gorbunov, a stone church with a stone bell tower was built at the cemetery. By definition of the Holy Synod in 1853, the church was transferred to the jurisdiction of the Orthodox churches. Next to the church there was a stone chapel, built almost in the same period as the church itself. The almshouse buildings were built here in 1904-1906. Industrial construction was launched on the site of the Church of Agrippina the Martyr. The almshouse building was occupied by the railway GPTU No. 11 (Kraevaya St., 85).

Church of the Annunciation of the Blessed Virgin Mary.
Volsk city, Lenina street, 100.

Thrones: (2 in total) the main one - in honor of the Annunciation of the Blessed Virgin Mary, in the chapel - in the name of St. Nicholas, Archbishop of Myra in Lycia, the Wonderworker. Built: 1907 - 1908 Consecrated: 1908

In honor of the Vladimir Icon of the Mother of God, the temple. Saratov district, Bagaevka village.

The church built in honor of the Vladimir Icon of the Mother of God in the village of Bagaevka, Saratov region, is the only parish in the district. On July 6, 2011, the consecration ceremony and subsequent service were attended by residents of the regional center, Bagaevka and other villages of the deanery.
The Vladimir Church was built in September 2010, and until the completion of construction, services were held in the building of the rural House of Culture, reports the press service of the Saratov diocese.
In honor of the icon of the Mother of God, Soothe my sorrows, the Bishop's Cross Church.
Saratov city,

Thrones: The main altar of the temple was consecrated in honor of the icon of the Most Holy Theotokos “Quiet My Sorrows” by Archbishop of Saratov and Volsky Alexander (Timofeev) in the mid-90s of the 20th century. The throne of the chapel was consecrated in the name of St. Sergius of Radonezh and Seraphim of Sarov by Archbishop of Saratov and Volsk Pimen (Khmelevsky) in 1993. There is also a side throne.
Built: 1903 - 1906 Architect: Pyotr Mitrofanovich Zybin.

In honor of the Intercession of the Mother of God, temple. Volsky district, Belogornoe village,

From history: The first documentary evidence of the existence of the temple dates back to 1791. During a fire on May 14, 1839, the temple burned down. A small wooden chapel was soon built for the Orthodox, in which from 1839 to 1868 parish priests performed divine services. The temple was rebuilt and consecrated in 1868.
During the years of Soviet power: the temple was destroyed.
Nowadays: December 11, 1999 in the village. A new Orthodox church in honor of the Intercession of the Mother of God was consecrated in Belogorny. The temple is a brick building, built according to the canons of church architecture, crowned with three domes. The belfry is located in the drum of one of the domes. The temple has a properly constructed iconostasis, is fully painted, and equipped with everything necessary for performing divine services.

Church in honor of the Holy Trinity. Engels,

The Church in honor of the Most Holy Trinity in the city of Pokrovsk (now Engels) was restored through the labors of the ever-remembered Archpriest Alexander Kerimov.
Altars: (3 in total) the main one - in honor of the Holy Trinity, in the right aisle - in

the name of the Holy Great Martyr Catherine, on the left - in honor of the Kazan Icon of the Mother of God

In honor of the Transfiguration of the Lord, the temple.
Pristannoe village

Built in 1997. Architect D. V. Golubinov. The temple was built on the site of the temple in honor of the Transfiguration of the Lord, destroyed under Soviet rule, built in 1822 through the efforts of the titular councilor Grigory Ignatievich Popov.

IN honor of the Holy Trinity (old) cathedral. Saratov

Altars: (2 in total) in the upper church - in honor of the Holy Life-Giving Trinity, in the lower church - in honor of the Dormition of the Mother of God.
Built: completion of construction dates back to 1722-1723.
From the history of the cathedral: During its existence, the cathedral had several names - Trinity, Holy Trinity Church, Old Cathedral Church and Saratov Trinity (Old) Cathedral. The cathedral building was built in the Moscow or "Naryshkin" Baroque style. Trinity Cathedral is an architectural monument of the 17th century. It was erected on the site of a wooden church that burned down in 1684. Neither the design data nor the name of the architect have been preserved. There is an assumption that the author of the project and the builder was a serf of Count Golitsin. There are four altars in it: in the upper one, in honor of the Holy Trinity, in the lower one there are three: in honor of the Dormition of the Mother of God, in the right aisle - in the name of Saints Basil the Great, Gregory the Theologian and John Chrysostom and in the left - in the name of the holy Apostle James Alpheus and Venerable Martyr Evdokia.
A particularly revered shrine of the Trinity Cathedral is the miraculous image of the Savior Not Made by Hands behind the right choir of the lower church. The image is a well-executed reproduction of the Image of the Savior Not Made by Hands by Andrei Rublev from the wall of the Trinity Cathedral in the Trinity-Sergius Lavra.
During the years of Soviet power: In 1937, the temple was closed, but in the second half of 1942 it was leased, and in 1947 it was finally returned to the Orthodox Church; the miraculous image of the Savior Not Made by Hands was transferred from the local history museum.
Nowadays: Until 2001 it was a cathedral. Currently, repair and restoration work is being carried out in the cathedral. Divine services do not stop and take place in the upper church.

In the name of the Holy Blessed Grand Duke Alexander Nevsky, the temple.
Rtishchevo

From history: A stone church with a stone bell tower at the Rtishchevo railway station was built in 1889 in memory of the miraculous deliverance of the family of Emperor Alexander III during a train crash at Borki station on October 17, 1888. The temple was built with donations

railway employees and private individuals, and in 1910 it was rebuilt with funds from the Ryazan-Ural Railway Society. There was only one throne in the temple, in the name of the holy noble Grand Duke Alexander Nevsky. The temple staff included a priest and a psalm-reader. A railway two-class parochial girls' school was established at the station.
During the years of Soviet power: The church was closed in 1924, but the building was not destroyed. The temple was reopened in 1944. Nowadays: The temple building is recognized as a monument of architecture and art. The temple is currently undergoing major renovations.
Services operating at the temple: Two-class Sunday school for children; Conversations between the church clergy and parishioners are organized weekly.
Church and social activities: The clergy and parishioners of the temple take care of the sick, poor and elderly.

The date of construction of the wooden St. Michael the Archangel Church in the city of Balashov is not known exactly. In 1842 it was corrected.
In 1887, it was completely rebuilt with the care of the Balashov merchant Ivan Petrovich Borodulin.
In 1929 the temple was closed. On April 1, 1945, under an agreement, another building was transferred to the Orthodox community for free use for the construction of a temple in it.
The temple building is an object of historical and cultural heritage.

Photos of Orthodox churches in the Saratov region \see Appendix 3\

2. Creative work to create images of Orthodox churches.

Monuments of Russian folk wooden architecture, be it a hut, a watchtower or a majestic temple, have their own unique forms. Relatively few ancient images of folk wooden architecture have survived to this day. Many of them survive only in photographs and drawings. And with the help of a model you can convey the unique beauty and entertainment of the structure. But in order to build a model, it is necessary to study the basic forms of the buildings that the temple contains.

So one of the objectives of this research is practical work on creating the image of an Orthodox church using arts and crafts. The simplest model can be created from cardboard - this is an exact copy of the temples: the Chapel of the Archangel Michael in Kizhi and the Chapel of Xenia of Petersburg in St. Petersburg. The peculiarity of these models is that they are developed on the basis of drawings and photographs of the original with high reliability.

To create an artistic image of the temple, I made a drawing using bead appliqué. This execution technique gives a lot of scope for creativity.

The most labor-intensive, but at the same time, the most interesting is the model of the temple, made of wooden straw. The production of the presented model required great precision and painstakingness.

CONCLUSION

As a result of this study, the following was established:

1. The architecture of Orthodox churches at different times had its own characteristic features, gradually moving from the Byzantine style to the tent-roofed style and later to the “bell-ringing” church.
2. The internal structure of the temple is strictly organized, divided into three parts:altar, middle part of the temple and vestibule.
3. The best Russian churches have become the glory of Russia, monuments of world culture - the Cathedral of Christ the Savior, St. Basil's Cathedral, the Assumption Cathedral, Kazan Cathedral.
4. Creating images of Orthodox churches is possible using various techniques of arts and crafts, and knowledge of the features of temple architecture and the structure of temples helps to create a model of the temple with maximum accuracy.

Bibliography

1. Architecture of an Orthodox church. X - XX centuries. // Orthodox encyclopedia. Volume "Russian Orthodox Church. Russian church art of the 10th - 20th centuries.": Internet resource.
2. Bologov A. A. Pskov in the palm of your hand: A guide to ancient monuments. - Pskov, 2004.
3. Wagner G.K. On the originality of style formation in the architecture of Ancient Rus' (return to the problem) // Architectural Heritage. Vol. 38. M., 1995. P. 22-38.
4. Ilyina T.V. History of arts. Domestic art. - M.: Higher. school, 2003.
5. Kanaev I.P. Architecture of modern Orthodox small churches and chapels: Author's abstract. diss. - M., 2002.
6. Materials of lectures on the history of Russian architecture (Museum of Architecture).
7. Matrynov A.I. Archeology. - M.: Higher. school, 2000.
8. MDS 31-9.2003. Orthodox churches. T. 2. Orthodox churches and complexes: A guide to design and construction. - M.: ARKHKHRAM, 2003.
9. Mikhailov B. Modern icon painting: development trend // Church Bulletin. 2002. June. No. 12-13.
10. Moscow is golden-domed. Monasteries, temples, shrines: Guide. - M.: UKINO "Spiritual Transfiguration", 2007.
11. Experience in the construction of Orthodox churches // Construction technology. No. 1. 2004.
12. Petkova S. M. Handbook of world culture and art. - Rostov n/d.: Phoenix, 2006.
13. Orthodox churches in Smolensk. - Smolensk, LLC "Rus"; LLC "Cantilena", 2003.
14. Modern church architecture: Round table of radio "Radonezh". 06/27/2007
15. Sokolnikova N. M., Krein V. N. History of styles in art. - M.: Gardariki, 2006.
16. Tsvetkov S.E. Russian history. Book 3 - 4. M.: Tsentrpoligraf, 2006 - 2008.

Annex 1

Appendix 2

1. Altar 2. Middle part 3. Narthex
4 . Iconostasis 5. Throne 6. Altar 7. High place 8. Sacristy

9. Solea 10. Pulpit 11. Choir

Appendix 4

Quick Hearing Church. In honor of the Nativity of Christ

Solnechny m/r. Church. Saratov.

Church of the Annunciation of the Blessed Virgin Mary. In honor of the Vladimir Icon of the Mother of God

Temple

In honor of the icon of the Mother of God

Soothe my sorrows BishopTemple in honor of the Intercession of the Mother of God

Cross Temple.

Church in honor of the Holy Trinity. In honor of the Transfiguration of the Lord, the temple.
Engels city, Svobody square, 5. Pristannoe selo, Sovetskaya street

IN honor of the Holy Trinity (old) Cathedral.In the name of the holy noble Grand Duke.

Saratov Alexander Nevsky Temple

Church in the name of St. Archangel Michael. Balashov

Slide captions:

Temple
V
honor of the Transfiguration of the Lord.
The purpose of the work is the following:
- study the features of the architecture of Orthodox churches.
- get acquainted with the external and internal
arrangement of the temple.
- learn about the most famous churches in Russia and the Saratov region.
- carry out creative work

to create the image of an Orthodox church.

Relevance of research work on the study of Orthodox churches: Temples decorate, ennoble our lives, delight the eye, pacify the soul with both external beauty and the harmonious ringing of bells.
Temple in honor of the Holy Trinity.
"Temples
Russia
»
Temple in honor of the Intercession of the Mother of God.
In honor of the Vladimir Icon of the Mother of God, the temple.
Temple "Soothe my sorrows"
Temples of the Saratov region.
Church in honor of the Nativity of Christ.
Agrippina
Martyrs Edinoverie Church.

Old Cathedral in honor of the Holy Trinity.